'Transcendence' ponders as it propels

Shortly before he began shooting his new artificial-intelligence thriller "Transcendence" last year, filmmaker Wally Pfister flew Jose Carmena and Michel Maharbiz, a pair of UC Berkeley scientists, to his office in Los Angeles. Professional consultants are common on Hollywood movies, but they're not usually this advanced Carmena studies neuroscience and Maharbiz is a nanotechnology specialist and even fewer go deep into the weeds with directors.

For 10 hours, the men pored over the script with the intensity of lab researchers on the verge of a major discovery. They discussed the density of brain signals, the limits of nanotechnology and the vexing problem of defining consciousness scientifically.

"We went through line by line, hitting on a technical topic and just going through it with Wally and his team," said Maharbiz, whose journal articles come with titles such as "Can We Build Synthetic, Multicellular Systems By Controlling Developmental Signaling in Space and Time?" "I've almost never seen people want to understand it at that level," he added.

Science-fiction movies have looked at the possibility and peril of artificial intelligence since HAL sought to destroy Dave Bowman in "2001: A Space Odyssey" back in 1968. Sarah Connor would of course later try to beat back the malicious plans of Skynet in the Terminator" franchise, and Hugo Weaving's coolly robotic Agent Smith proved a slippery foe for Neo and friends in "The Matrix."

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But few in this subgenre have examined the theme with the level of scientific rigor or, for that matter, the emotionally inflected story line of "Transcendence." Thanks to the emerging intelligence of digital creations, Pfister and screenwriter Jack Paglen are able to indulge in a science fiction that, while fantastical, is both plausible and plausibly human.

Written by first-timer Paglen and marking the directorial debut of Pfister, the Oscar-winning cinematographer and longtime Christopher Nolan collaborator, "Transcendence" concerns an artificial-intelligence researcher named Evelyn Caster (Rebecca Hall) who uploads the consciousness of her husband and professional partner Will (Johnny Depp) just before he dies from a gunshot wound inflicted by an anti-technology radical. She is hardly engaging in disinterested science: Will is the love of her life, and the possibility that a digital replica can keep him with her is too powerful to resist, no matter the consequences.

In the ensuing weeks, the entity voiced and embodied by Will not only gains consciousness but evolves past the point of mere human abilities, engaging in superhuman activity in the interest of bettering society (he says). In the process, the digital Will provoke fear maybe justified, maybe not on the part of the couple's close friend, the fellow researcher Max (Paul Bettany), as well as a swelling cadre of government authorities fearful of a force they can't control.

With its action set pieces and propulsive plot, the $100-million-budget "Transcendence" is an unmistakably Hollywood confection. Yet with its slowed-down moments hashing out questions of digital consciousness and human evolution, it also puts complex philosophical issues at the fore. The film essentially offers the man-vs.-machine tension of "The Matrix" only this time there's a decent chance we should be rooting for the machine.

This is not 'point the laser and zap the guy to death.' These are real human beings faced with something large," Depp said. "It's something the audience is really meant to ponder.

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'Transcendence' ponders as it propels